Patricia Petibon

A MOZART GALA FROM SALZBURG DVD-VIDEO 0734430

This straightforward gala evening from the 2006 Salzburg Festival is a stand-up-and-sing affair featuring some of the current mightiest singers on the operatic scene . . . Young Daniel Harding . . . has managed to mellow without losing any of his originality. Perhaps the Vienna Philharmonic, here at its most lush, luscious, and responsive, has coerced him into more traditional tempos, although he still has very much his own voice, particularly in the purely instrumental sections of the concert. After a dramatic, sensibly paced overture to Don Giovanni . . . René Pape takes the stage and sings a delightful, big-voiced "Catalog Aria" . . . Michael Schade, in lovely voice for "Dalla sua pace", is next, and his forceful singing is as impressive as his long-lined pianissimo is embracing. Fireworks ensue with soprano Patricia Petibon's reading of Aspasia's manic-depressive aria, "Nel grave tormento" from Mitridate. She is a remarkable artist, incapable of being dull -- or apparently of singing off-key . . . Her high staccatos and coloratura are spectacular. Coloratura is also featured in Michael Schade's performance of "Si all'impero" from La clemenza di Tito, and he handles it well, with Tito's regal bearing clear throughout. Magdalena Kozená . . . is a most welcome presence in Sesto's "Parto, parto". She and Harding take an odd ritard and use great rubato in the bars before the presto section, but it works. I'm still not certain that Kozená is not a soprano. The estimable Thomas Hampson arrives to sing Guglielmo's difficult "Rivolgete a lui lo sguardo" from Cosi, which he begins with an attention-getting rolled "r" that is as cloying as it is typical of this artist. Has a baritone ever been more pleased with his own work? The voice is in good shape . . . The overture to Idomeneo enters with fury and gravitas, the winds in particularly fine form. Ekaterina Siurina then sings Ilia's lovely "Se il padre perdei", her lyric sound presenting a distinctive edge. She is joined by Kozená for a gorgeous "S'io non moro a questi accenti". Anna Netrebko arrives for the evening's last vocal number, Elettra's aria "D'Oreste, d'Ajace", sung with stupendous temperament, pinpoint accuracy, and big, round tone, and she wows the casual-looking audience. All of the women in the concert remind us that though stand-up-and-sing evenings still exist, gone are the days of divas being unemotive and stodgy. Here are three stunning women acting with voice and personality . . . Harding then leads the Vienna Philharmonic in a fine reading of Mozart's "Prague" Symphony, with a majestic, slow opening, with special emphasis on the low strings and timpani, a relaxed andante, and a furious presto, reminiscent of his Virgin Don Giovanni in its highlighting of dance rhythms . . . This is a splendid way to spend an evening.

Record Review /
Robert Levine,
ClassicsToday.com / 12. September 2008

Perhaps the Vienna Philharmonic, here at its most lush, luscious and responsive, has coerced him into more traditional tempos, although he still has very much his own voice, particularly in the purely instrumental sections of the concert. After a dramatically, sensibly paced Overture to "Don Giovanni" . . . René Pape takes the stage and sings a delightful, big-voiced Catalogue Aria . . . Michael Schade, in lovely voice for "Dalla sua pace" . . . is next, and his forceful singing is as impressive as his long-lined pianissimo is embracing. Fireworks ensue with soprano Patricia Petibon's reading of Aspasia's manic-depressive aria 'Nel grave tormento' from "Mitridate". She is a remarkable artist, incapable of being dull or, apparently, singing off-key . . . her facial expressions . . . are in character. Her high staccatos and coloratura are spectacular . . . Welcome Magdalena Kozená . . . sounding fresh and warm in Sesto's 'Parto, parto' . . . The Overture to "Idomeneo" enters with fury and gravitas, the VPO winds on particularly fine form. Ekaterina Siurina then sings Ilia's lovely 'Se il padre perdei', her lyric sound having a distinctive edge. She is joined by Kozená for a gorgeous 'S'io non moro a questi accenti'. Anna Netrebko arrives for the evening's last vocal number, Elettra's aria 'D'Oreste, d'Aiace', sung with stupendous temperament, pin-point accuracy and big, round tone: she wows the casual-looking audience . . . here are four stunning women acting with voice and personality . . . Harding then leads the Vienna Philharmonic in a fine reading of Mozart's "Prague" Symphony, with a majestic, slow opening . . . This is a splendid release.

Record Review /
Robert Levine,
International Record Review (London) / 01. November 2008

. . . all have sufficient stage presence to infuse the songs with characterization and dramatic interest. The attractive set is simple and elegant . . . There are no attempts at gimmickry; it is a tasteful, elegant affair that is a treat for the eyes and ears. The 93 minutes are filled with exemplary music-making, appealing to Mozart-lovers and a nice introduction for the musical neophytes.

The orchestral playing is impeccably groomed, opening with a fast and fiery account of the "Don Giovanni" overture followed later by a dynamic "Idomeneo" overture and finishing with an accomplished "Prague" Symphony . . . The Russians sing magnificently too, Anna Netrebko nearly bringing the house down with Elettra's 'fury' aria from "Idomeneo" and Ekaterina Siurina coring as Ilia with her fresh tone and simplicity of manner. Michael Schade is vocally impeccable as Don Ottavio and Tito, René Pape vigorous if earnest as Leporello . . . Magdalena Kozená is the most intense singer . . .

Record Review /
George Hall,
BBC Music Magazine (London) / 01. February 2009